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About

LEVI’S® MADE AND CRAFTED™
✕ WAX MAGAZINE

This website is a collaboration between Levi’s® Made and Crafted and the New York surf and art publication WAX Magazine. The project celebrates the idea of patience in both surfing and in the making of well-crafted clothing.


The content on this site is an elaboration on the S / S 14 printed lookbook, which can be found in select Levi’s® stores. Like the book itself, this website is equal parts WAX Magazine and Levi’s® Made and Crafted, designed to celebrate the clothing, the people who wear them, the pursuits they enjoy and the time it takes to reach a place of excellence.


This site will be updated on a regular basis with videos, interviews, photos and essays which, cumulatively, tell the story of the Spring/Summer 2014 collection and ask you to consider the idea that Good Things Take Time.

About Levi’s® Made and Crafted
Collaborations

Each season, Levi’s® Made and Crafted collaborates with an American art and culture publication with shared values, and weaves the collaborators’ editorial and artistic work into the campaign. In addition to a printed lookbook, each collaboration results in an online destination that brings the book to life digitally.

Previous Collaborations

Moment to Moment, Fall 2013

The Thing Quarterly x Levi’s® Made and Crafted

Credits

Creative Directors

WAX Magazine

Aeriel Brown

Zak Klauck

David Yun

Contributing editor

Abbye Churchill

About the Patterns

Pavla Nešverová is a former organist-turned artist. A Czech native, her work has appeared in numerous galleries throughout Europe. To create the patterns, Nešverov took scenes from two classic surf films — The Fantastic Plastic Machine (1969) and Sea of Joy (1971) — and manipulated them in the program Max (a visual programming language for sound and video).

WAX Magazine is a bi-annual print publication exploring the intersection of art, culture and surfing in and around New York City. Each issue shares the stories of area surfers, artists, designers, authors and auteurs—all organized around a unique theme. www.readwax.com

About Levi’s® Made and Crafted

One hundred and forty years ago, Levi Strauss invented a simple blue jean that would forever change the way America, and the rest of the world, dressed. Levi’s® Made and Crafted builds on this legacy by designing tomorrow’s classics using today’s best materials and construction techniques.

Levi’s® Made and Crafted Art Directors:

Matt Wright

Parul Sharma

Suzanne Baxter

Contributors

Andy Byers

Abbye Churchill

Jeff DiNunzio

Rob Kulisek

Jeremy Liebman

John Luke

Pavla Nešverová

Jason Walker

Carmen Winant

Videos

Will Adler

Mikey DeTemple

Rob Kulisek

David Murphy, Imaginary Surf Company

(with Sarah Warnock and Christopher Labzda)

Stay Tuned

The full story of the Patience: Spring/Summer 2014 will be revealed over time with more videos, photos, essays and other content. Visit this site daily to view more content.

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CONTENTS

About

I    Listening

5  Mikey & Lisa

15  In the Sky

21  First Wave

29  Listen

II    Watching

33  Interlude

34  Walking Rockaway

43  Sand Shores

53  Second Wave

67  Watch

III    Waiting

69  Try, Try, Try Again

77  Sky Meets Sea

85  Turning Tides

87  Third Wave

100  Wait

101  End Note

Credits

 
T
T

S/S 2014 — Patience

Levi’s® Made and Crafted™ × WAX Magazine

Listening
Listen to the ocean’s wind for a full twelve minutes. Keep a record of how many different notes you hear. Name the composition at the end.

← Back to Image Story
Mikey & Lisa

Mikey DeTemple wasn’t always so enamored with surfing. Growing up on Long Island — that crooked finger that extends just beyond the reaches of New York City — and raised by a surfing family, the sport was always in Mikey’s consciousness, it just wasn’t something he participated in. But that all changed when he turned twelve. Today, he’s a prosurfer with numerous titles and the owner of a film production company, High Seas Films, which explores the luscious imagery of the sport and its exotic locales. DeTemple has, very firmly, made surfing his way of life.

DeTemple proudly calls New York his home. Well, his two homes, to be exact. To satisfy his waterfront habit, DeTemple and his fiancee, Lisa Myers share a cozy place in Montauk, right in the heart of the Long Island surfing community. And, to satiate Myers’s lifelong passion for fashion (she is currently a buyer for the website The Real Real and has both Lanvin and Stella McCartney in her vocational past), the dynamic couple share a second home in Brooklyn. It is a balancing act to be certain — between city and country life, between fashion, film and the surfing lifestyle — but one which both have embraced with open arms.

Abbye Churchill

With homes in Brooklyn and Montauk, how do you divide your time?

Mikey DeTemple

Lisa’s always out here [in Montauk] on her days off. During the warmer months, I’m pretty much in Montauk full time. In the wintertime, the waves dictate when I’m out here because it’s pretty boring if there aren’t waves.

Abbye

It must be nice to have a sense of the city life and then this bucolic escape.

Mikey

Oh, it’s the best. Doing what I do would be pretty difficult if I wasn’t able to mix the two.

Lisa Myers

I love going out to Montauk. It lets me do what I want to do in life. Before, I was actually thinking of leaving New York in general because I just wasn’t happy. I lost my purpose. Having surfing and Montauk in my life is so much healthier.

Abbye

How do you negotiate those two worlds?

Lisa

It’s difficult because I want to be out there so much. I’m constantly thinking about being out being there, looking at the surf report. When I have my days off out there, I have Mikey waking me up at six in the morning. I can’t wait one second.

Abbye

Mikey, going back in time, how did you first discovered surfing? I read that when you were little, you preferred going to the beach but you didn’t want to get in the water. What was the “ah ha” moment for you when it all came together?

Mikey

The beach is always part of my life. My parents met surfing in New York in the ’70s. I grew up going to the beach but I hated the water. It was always a terrifying thing to me. I used to spend a lot of time with my mom at the beach. She got me to let go of the fear and go out on my own. I would boogie board every day, all day long; my dad would haze me for it. “I can’t believe you’re boogie boarding. Why don’t you just stand up?” Then I found his first surfboard in our garage. I thought, ‘I would feel pretty cool bringing this thing to the beach.’ I never touched the boogie board again after that.

Abbye

Were there any pieces of advice that your parents, as veteran surfers, passed along to you?

Mikey

My dad always instilled in me how important style was with surfing. There was a point where I was trying to win everything I could win and he was like, “Whatever you do, don’t lose your style.” That was something really stayed with me throughout my entire surfing career and beyond: the importance of style. That’s translated to everything, I think.

Abbye

Lisa, has Mikey given you any nuggets of wisdom to help with your surfing?

Lisa

In the beginning, he would try and push me to go out when the waves were a little bigger than I was comfortable with. He was like, ‘This is how you learn.’ The waves weren’t big for him, but big by my standards. I prefer to go out when it’s my baby waves because I can pay more attention to my technique. Now, I’m selective about when I’m go out, what the day’s like. Every time I go out I feel like I’m learning. But, I want to learn more. I want to get pushed more. It’s also just fun to be out there with Mikey because he loves it so much and I want to be a part of that.

Abbye

Mikey, how did you transition from your love of surfing to making films? When did High Sea Films start?

Mikey

It all came together on a trip to the Maldives in 2006. I was there with a couple guys from Australia and a photographer. It was one of the most amazing trips I’ve been on. And, no one was videoing. I thought, ‘This would be such a crazy trip to shoot on film.’ I had a video camera with me; I shot video the whole time. And, I just thought, ‘I’ve got to go on trips and start shooting video of all these places.’ The next year, every trip that I did, I brought a video guy with me. I wanted to make a film not about necessarily what I did alone, but about the trips that I went on and who I went on them with and what we did together. And, that was how my first film, Picaresque, was made.

Abbye

You shot your first film, Picaresque, on 16mm film and then your follow up, Sight Sound on a combination of film and digital. How do you like working with both formats?

Mikey

Visually, I love the feeling that film gives. But now I’m a fan of digital, too. There’s no way I’d be able to make these shorts [I’ve been doing] if I were shooting them on film unless I was getting thousands of dollars every time. Digital lets me actually do stuff, while keeping the cost low and still making beautiful images.

Abbye

Lisa, have you gotten the bug? Have you gotten any desire to begin making films from watching Mikey work?

Mikey

That’s such a good question. I like that question.

Lisa

Yeah, for sure. When Mikey is making a film, I stay with him late into the morning. I have become attached to the process. When we went to Costa Rica together, he let me shoot some footage. We keep talking about doing it more, but when the waves are good, it’s hard to be anywhere else. I would definitely love to get into it more.

Mikey

She’s a natural at it.

Abbye

I can’t wait to see the first collaboration.

On Mikey

MEN'S PARKA — Peacoat

MEN'S CREW FLEECE — White Multicheck

MEN'S ONE POCKET SHIRT — Blue Stripe Oxford

MEN'S TACK — Lagoon

On Lisa

WOMEN'S TURNOUT BLAZER JACKET — Blue Sapphire

WOMEN'S ENDLESS SHIRT — Blue Sapphire Ditsy Waves

MARKER — Spirit


← Back to Image Story
In The Sky
Fact: a blue moon is, in fact, not blue at all. It refers instead to the appearance of a full moon twice in one calendar month. The rareness of this occurrence spawned the phrase, “once in a blue moon.” the time between two blue moons is about three years, which is roughly the same time it takes to create a new pair of jeans, from sourcing and creating the materials to final manufacturing. It just goes to show: good things take time.

p. 16

MEN'S PARKA — Peacoat

MEN'S CREW FLEECE — White Multicheck

p. 17

WOMEN'S PARKA — Peacoat

WOMEN'S BREAKER TUNIC — Blue Red Waves

WOMEN'S BEAU — Blue Swell

p. 18

MEN'S BOMBER JACKET — Imperial Blue Suede 

MEN'S BOW TIE — Blue Stripe Oxford

MEN'S ONE POCKET SHIRT — Blue Stripe Oxford

p. 19

MEN'S PARKA — Peacoat 

MEN'S CREW FLEECE — White Multicheck

MEN'S TACK — Sea Breeze

p. 20

WOMEN'S TURNOUT BLAZER JACKET — Blue Sapphire

WOMEN'S ENDLESS SHIRT — Blue Sapphire Ditsy Waves

WOMEN'S EMPIRE — Motion


← Back to Image Story
First Wave

p. 21

WOMEN'S BREAKER TUNIC — Blue Red Waves

p. 22

WOMEN'S TURNOUT BLAZER JACKET — Blue Sapphire

p. 23

WOMEN'S TURNOUT BLAZER JACKET — Blue Sapphire

p. 24

WOMEN'S BEAU — Blue Swell

p. 25

WOMEN'S BEAU — Blue Swell

MEN'S NEEDLE — Splintered

p. 26

WOMEN'S ENDLESS SHIRT — Blue Sapphire Ditsy Waves

p. 27

MEN'S BOMBER JACKET — Imperial Blue Suede 

p. 28

MEN'S BOMBER JACKET — Imperial Blue Suede 

p. 29

MEN'S PARKA — Peacoat

MEN'S BOMBER JACKET — Imperial Blue Suede 

LEATHER BIKER JACKET — Blue Black

p. 30

MEN'S PARKA — Peacoat


← Back to Image Story
Walking Rockaway

Walking directions to Beach 90th St, Queens, NY 11693 (from Google Maps)

Begin:

Greenpoint Ave & West Street
Brooklyn, NY

1. Head east on Greenpoint Ave toward West St 0.3 mi

2. Turn right onto Manhattan Ave 2.1 mi

3. Slight left onto Broadway 2.9 mi

4. Continue onto Alabama Ave 410 ft

5. Turn left toward Georgia Ave 256 ft

6. Turn right onto Georgia Ave 52 ft

7. Turn left onto Atlantic Ave 0.3 mi

8. Turn right onto Miller Ave 417 ft

9. Turn left onto Liberty Ave 1.0 mi

10. Turn right onto Conduit Blvd S 1.5 mi

11. Turn right onto 89th St 469 ft

12. Turn left onto 151st Ave 200 ft

13. Slight left to stay on 151st Ave 315 ft

14. Turn left onto 153rd Ave 0.2 mi

15. Turn right onto Cross Bay Blvd 282 ft

16. Turn left toward Cross Bay Blvd 59 ft

17. Turn right onto Cross Bay Blvd 5.5 mi

18. Continue onto New York State Reference Rte 907J 0.4 mi

19. Turn left onto Joseph Alcamo Blvd/Rockaway Beach Blvd 0.2 mi

Arrive:

Beach 90th St
Queens, NY 11693

Sand Shores
There are approximately 46.7 billion grains of sand per cubic yard of beach. Each grain is made from years of weathering of rock and stone and coral, which then gather collectively to form the beaches we use to warm ourselves. The point is this: from the finest grained sand to the most expertly stitched seam, details matter. And the best ones take time to make. After all, good things take time.

p. 44

WOMEN’S ANGELS SHORT SLEEVE SHIRT — Storytime Blue

p .45

MEN’S HAWAIIAN SHIRT — Multi Waves

MEN’S LMC TEE — Star White

MEN’S DROP OUT PANT — Denim

p. 46

WOMEN’S TRUCKER JACKET — Mid Wash

WOMEN’S FAR OUT TANK — Corn Silk Ditsy

WOMEN’S POOLSIDE SKIRT — Storytime Blue

p.47

MEN’S REGULAR TEE — Red White Blue

MEN’S SPOKE — Lagoon (Polar)

p. 48

WOMEN’S BAY DRESS — Bright Aqua Ditsy

p. 49

WOMEN’S ANGELS SHORT SLEEVE SHIRT — Storytime Blue

WOMEN’S PINS CROPPED — Cloudy White Bleach

p. 50

MEN’S HAWAIIAN SHIRT — Multi Waves

MEN’S LMC TEE — Star White

p. 51

MEN’S BLAZER — Boating Stripe

MEN’S BUTTON DOWN SHIRT — Blue Checkboard

MEN’S THUMB TACK CROPPED — Rigid

p. 52

WOMEN’S LUXE SHIRT — White

WOMEN’S ROLLER TANK — Star White

WOMEN’S MARKER — Blowout

Second Wave

p. 53

WOMEN’S TRUCKER JACKET — Mid Wash

p. 54

MEN’S DROP OUT PANT — Denim

p. 55

WOMEN’S POOLSIDE SKIRT — Storytime Blue

WOMEN’S ANGELS SHORT SLEEVE SHIRT — Storytime Blue

p. 56

MEN’S HAWAIIAN SHIRT — Multi Waves

p. 57

WOMEN’S LUXE SHIRT — White

p. 58

WOMEN’S FAR OUT TANK — Sugar Coral

WOMEN’S BEACH JACKET — Bright Aqua

WOMEN’S FAR OUT TANK — Corn Silk Ditsy

WOMEN’S ENDLESS SHIRT — Bright White

p. 59

MEN’S THUMB TACK — Rigid

p. 60

MEN’S THUMB TACK — Rigid

p. 61

WOMEN’S MARKER — Blowout

p. 62

WOMEN’S MARKER — Blowout

p. 63

MEN’S BLAZER — Boating Stripe

p. 64

MEN’S BRETON TEE — Blue Sapphire Stripe

MEN’S BUTTON DOWN SHIRT — American Beauty Waves

MEN’S SHORT SLEEVE SHIRT — Blue Checkboard

MEN’S BUTTON DOWN SHIRT — Blue moon Gradation

MEN’S BUTTON DOWN SHIRT — Blue Checkboard

Waiting
Pick a dark stone from the nearest beach. Place it on your bedroom window sill. Keep a calendar counting the number of days until it turns a pale gray.

← Back to Image Story
Try, Try, Try Again

David Murphy is pacing behind a curtain. Throughout his fourth­floor workshop, air constantly swirls in unseen patterns, carrying with it a din of white noise—occasional exhales of a paint sprayer and the hum of the AC in the back corner window that peers south over the rest of Williamsburg, Brooklyn. The trim six­foot­two Murphy applies even coats of clear resin to protect the smoky navy blue deck of a nine­foot longboard. He strides and sprays in equal measure. Another few layers and an hour later, he’ll flip the board over and repeat the same steps on the bottom. Meanwhile, there’s always something to be done. While each clear coat dries, he continues mixing resins. Much like the ocean, where for the last six years his custom, handmade and often atypically shaped surfboards have carved the waves of south shore Long Island, David Murphy is always in motion.

That Murphy grew up skateboarding in dried out pools in backyards in land­locked Texas is about the only detail of his life that may have suggested a career making surfboards was unlikely. He’s been working with his hands for most of his 40 years. He learned to sculpt in grade school and continued as a student at Hampshire College in Massachusetts, worked as a carpenter building frames for homes, and made films and arranged theatrical lighting. Utilitarianism is a living doctrine in his life. And Murphy is, most certainly, useful.

In 1997, after hopping freight trains across the country to capture scenes for his final college documentary film thesis, Murphy arrived in New York City. “I moved into a warehouse space in DUMBO for a hundred­fifty a month, splitting it with three guys, no heat,” Murphy remembers of his first primitive home in the city. He then squatted across the East River in Lower Manhattan before returning to Brooklyn, always keeping his hands active—once in a minor fit of protest building transmitters for community pirate radio stations.

Murphy’s functional cunning, however, is not limited to inanimate objects. Nearly fifteen years ago, he blew out his back skateboarding. He tried everything other than surgery and drugs; nothing helped. He limped on. Murphy visited a guy who practices what he does now, “and after one session I wasn’t limping anymore,” a healed Murphy recalls. “I walked out of his office, got halfway down the block, and sort of rearranged my life. Said, ‘That’s going to be my next career.’”

It’s called Rolfing, named for Ida Rolf, the Columbia University Ph.D. who discovered the therapy method more than fifty years ago. She understood the body as a network of integrated tissue rather than simply a collection of individual components—and that gravity will eventually exacerbate imbalances in the body, leading to pain and decreased flexibility. According to the Rolf Institute of Structural Integration in Colorado, Rolfing essentially links chiropractic adjustments––which focus on the skeleton––and massage therapy that targets muscles by incorporating elements of both. Athletes, dancers and children are just some of the estimated one million people who have benefitted from Rolfing therapy. And including Murphy, whose back troubles have long inhibited his physical activity, surfers too. Rolfing, Murphy told me, also seeks to foster a perceptual change in the way patients observe their bodies in the space they occupy—connecting mind and body. From that, Rolfing may ease chronic pain and improve freedom of movement. And it saved Murphy’s life. So much so that a decade ago, he traveled to remote north central Washington, slightly east of the Cascades at a bend in the Methow River, to train at the Institute of Structural Medicine. And if the few Yelp reviews are any indication, Murphy provides five­star handiwork. He rehabs clients three days a week, “and the rest of the time I’m in my shop.” As in Rolfing, Murphy seeks balance, and for him that comes in the form of building surfboards for repaired bodies to ride.

Back at the shop, the faint grays streaking through his burly beard are easier to spot in the bright light, and in the soft shade of a MacBook scroll bar, the cool blue of his eyes is magnetic. The shop noticeably lacks the pungent stench of chemicals—of the polyester often used to glass surfboards. That’s because Murphy uses the least harmful materials possible to construct his vehicles: recycled EPS foam, repurposed wood, water­based resins. Spray paint is about the worst product in Murphy’s shop.

A dozen boards stand in varying degrees of completion along the racks against the wall. The cork­boards catch my eye—as they do many of New York’s surfboard geeks. Not long ago, Murphy’s curiosity drew him to investigate cork as a viable surfboard building material. He noticed northern California shaper Danny Hess incorporating cork in his designs, and found a guy in Florida doing the same thing. So Murphy tried himself, binding cork decks to the bodies of his foam boards and sealing them under layers of fiberglass. Now he’s experimenting with exposed cork decks; the resin beneath the cork seals it to the board, but the top is not laminated. No wax required. “Cork is the ultimate composite material,” explains Murphy. “It’s lighter, it’s cheaper it, it’s more impact resistant, it’s easier to work with, it gives a really nice flex pattern.” The boards look like nothing I’d ever seen—much to the delight of his customers.

Murphy never set out to make a business of building surfboards. He was dissatisfied by an alaia (a thin wooden board with no fins) made by California’s Jon Wegener. The handyman naturally asked himself the obvious question: why not just make my own? Friends who rode Murphy’s personal boards soon wanted their own, which Murphy sold under the label Inner Circle. As his renown grew, so too did the perceived pretension of his brand name. “New York feels like this weird backwater, where I’m picking it up as I go along,” Murphy, who never worked as an apprentice like other shapers, says of learning the craft. From that attitude came a suggestion from a friend for a more compelling, inclusive label: Imaginary Surf Company.

Murphy’s approach landed him a small retail deal in downtown Manhattan. He had been shaping wooden handplanes for bodysurfing at the time he met Josh Rosen—one of the three owners of the boutique Saturdays Surf shop in the city. Murphy stopped by, got talking to Rosen. Rosen remembers seeing Murphy later surfing at Rockaway Beach, riding one of his cork­boards. “We chatted about it for a bit and that's when I learned that he shaped boards, as well as handplanes,” says Rosen. Shortly after, Murphy’s handplanes arrived on Saturdays’ shelves.

Murphy’s boards, however, are harder to find. He makes almost all of them to order, although a few exist at a shop in the Hamptons and a Patagonia store in Japan. Murphy meets many of his clients like he did Rosen. Corey Smith, a lithe, tattooed 22­year old transient who grew up surfing in Florida and moved to New York a year ago, met Murphy at a party in February. The pair hit it off, and surfed together a week later when the next frigid winter swell arrived. “I surfed one his boards, this egg­shaped quad,” Smith recalls. “It worked really well, but it was a little big for me.” Murphy built a board made of paulownia wood for the shorter, lighter Smith. “I’ve ridden it three times. It’s going to be a great summertime board, really strong,” Smith says, anticipating New York’s small wave season.

Murphy plans to halt his handplane production after the summer to focus on making stock board shapes and to continue experimenting with designs. “I’m hoping to come out with a series of templates based on NACA foils,” Murphy reveals. The National Advisory Committee for Aeronautics—a precursor to NASA—was formed in 1915 to help the U.S. compete with Europe’s burgeoning aviation industry. NASA absorbed the agency in 1958, but not before NACA produced a series of airfoil designs to apply to airplane wing construction in the 1930s. Murphy believes he can translate those calculations into surfboards that perform as well as any.

It’s that mentality, an unrelenting curiosity, the ability to assemble success from failure and elbow grease, that carries Murphy. Be it sculpting, hardwiring radio transmitters, or healing bodies, Murphy knows his most effective tools are his hands, which can only be powered by his mind. Who knows if in the future surfboards will exhaust him? If they do, there’s little doubt he’ll tackle his next venture with the same precision.

When I head for the door, Murphy pulls his mask back over his bristly beard, and returns his attention to the longboard, only a few laps from the finish. The spray gun fires again as I walk down the hall. I make a note to pay attention to the man behind the curtain.

On David

MEN's CLASSIC SHIRT — Indigo Flowers

MEN'S DROP OUT SHORTS — Indigo Big Weave

On Chris

MEN'S BIG SHIRT — Star White

MEN'S SPOKE — Khaki


← Back to Image Story
Sky meets Sea
Did you know: if you extracted all the salt from the sea and spread it evenly across the earth, it would form a layer as a tall as a new york skyscraper? All that salt is formed from the slow and gradual dissolving of minerals from the earth’s crust, which then mixes with water to create the distinct and delightful concoction we call the ocean. Sure, it takes a long time to form, but then again, good things take time.

p. 78

WOMEN’S ANGELS SHORT SLEEVE SHIRT — Bright White

INDIGO MESH SCARF — Indigo Dye

p. 79

MEN’S BIG SHIRT — Light Blue

p. 80

WOMEN’S ANGELS SHORT SLEEVE SHIRT — Bright White

WOMEN’S EMPIRE SHORTS — Afternoon Whispers

p. 81

WOMEN’S ANGELS SHORT SLEEVE SHIRT — Bright White

WOMEN’S EMPIRE SHORTS — Afternoon Whispers

INDIGO MESH SCARF — Indigo Dye

p. 82

MEN’S CLASSIC SHIRT — Indigo Flowers

MEN’S SPOKE — Indigo Waffle

INDIGO HAT — Indigo Dye

p. 83

MEN’S BIG SHIRT — Light Blue

MEN’S DROP OUT SHORTS — Indigo Big Weave

p. 84

WOMEN’S ENDLESS SHIRT — Blue Double Cloth

WOMEN’S BEAU — Rogue


← Back to Image Story
Turning Tides

“The tides, when the Moon swung closer, rose so high nobody could hold them back. There were nights when the Moon was full and very, very low, and the tide was so high that the Moon missed a duckling in the sea by a hair’s­breadth.”

—Italo Calvino, “The Distance of the Moon”

We turn the tide, are tided over, drift with the tide. These linguistic metaphors for the continual rise and fall of the ocean have been harnessed by writers the world over to describe romance, life force (or respiration), renewal, temperament, the steadiness of life and also its inevitable disappointments. The Oxford dictionary defines the tide as a powerful surge of feeling, which is perhaps the most astute understanding of the phenomenon I’ve ever heard.

Most non­experts are aware of the relationship between the moon and the tide, and they usually agree that it seems almost metaphysical. It’s easy to figure that gravity, proximity, lunar phases, atmosphere, solar system, eclipses, magnetism, relativity, mass, the earth’s axis and its distance to the sun play a part in how the sea rises and falls, but the physics are more uncertain. How do the sea and the sky communicate and transmute energy? Like any dependent relationship, symbiosis is complicated and uneven; they both need one another, but in very different ways.

The story is complicated so I’ll make it simple: the moon orbits around earth and together they rotate around the sun. As it rotates, the moon pulls at the earth—like a magnet in search of a reverse charge— trying to draw it ever closer. But the dense satellite is no match for our planet, which is three times larger and exerts ten million times the gravity. We hold on. What the moon can do, the only thing it can muster with its limited gravitational force, is attract the water. Water is harder to hold onto than land (perhaps you’ve noticed that you can’t catch it?) since it’s not rooted and is always moving. Oceans appear to bulge at the horizon line not only because the earth is round, but in fact because they are reaching away from the ground and towards the moon. Another slightly more subdued bulge, called a ‘sympathetic bulge,’ occurs on the side of the earth not facing the moon. And throughout this routine choreography, the earth never ceases to rotate on its axis, causing inconsistencies in the sea level as it reaches shore. These are tides, as we know them: every twelve hours and twenty­five minutes (as the moon is also rotating along with the earth), oceans on both sides of the globe rise and fall, rise and fall as whole oceans are stretched and released, stretched and released.

I’ll return to the sun here, which is often left out of the story as it has less gravity than the moon and is also a little less sexy, a little too brassy. When the moon is big and ripe—a full moon, for instance—it’s because it has aligned with the sun relative to the earth and formed a single, straight line in outer space. As a result of level positioning, the moon’s magnetism is combined with that of the sun, which also pulls at the earth with distant gravitational force. On those nights—called ‘spring tides’—high tides are very high and low tides are very low. The sea is wild and bridled all at once. It’s an invisible lure, a pitch frequency, a siren song.

Four times a year the sun and the moon stand at a right angle to one another; they are perpendicular to one another with regard to the earth. These are quarter moons and they cause ‘neap tides.’ During these episodes, the “bulges” in the ocean cancel one another out, and the high and low tides are very, very weak. Perhaps you’ve noticed.

Here’s a story about the spring tide and the neap tide: In the twenty­nine year history of Alcatraz, the water­bound penitentiary, thirty­six prisoners attempted to escape from the island and cross the mile and half of water to shore. Of them, only five men remain unaccounted for, all of whom fled at night. Unlike the others who relied on tricks and diversions, it is reported that these men studied the San Francisco Bay. They understood, somehow, that the moon (it’s shape, it’s size, it’s relative closeness to the earth) profoundly affected the water’s swell, and the tides were their only real chance of absconding to freedom. They patiently observed from their cell windows, these old and young men—many of them feared gangsters, though a few petty criminals—that when the moon was full, the Bay was at its most wild.

After waiting until the just right evening, the prisoners took their leave of that place only when they could be carried out. The water that held the prisoners captive on that rock was the only agent that could set them free of it.

How did they know the time was right? A powerful surge of feelings.

An innate sense. A strong attraction. It’s metaphysical that way.

p. 87

WOMEN’S BEAU —Rogue

p. 88

MEN’S BIG SHIRT —Light Blue

p. 89

MEN’S DROP OUT SHORT —Indigo Big Weave

p. 90

MEN’S DROP OUT SHORT — Indigo Big Weave

p. 91

WOMEN’S EMPIRE SHORTS — Afternoon Whispers

p. 93

MEN’S CLASSIC SHIRT — Indigo Flowers

MEN’S BLAZER — Indigo Waffle

MEN’S CLASSIC SHIRT — Indigo Flowers

MEN’S DROP OUT PANT — Denim

MEN’S CLASSIC SHIRT — Indigo Waffle

MEN’S DRILL SHORTS — Indigo Waffle

MEN’S TACK — Indigo Waves

MEN’S DRILL CHINO — Indigo Big Weave

p. 94

INDIGO HAT —Indigo Dye

p. 95

INDIGO DYE HAT — Indigo Dye

p. 96

INDIGO CANVAS BAG — Indigo Dye

p. 97

WOMEN’S EMPIRE SHORT — Afternoon Whispers

MEN’S DRILL SHORTS — Indigo Waffle

p. 98

WOMEN’S EMPIRE CROPPED — Coastline

WOMEN’S EMPIRE — Cloud Beach

WOMEN’S BEAU — Rogue

WOMEN’S EMPIRE CROPPED — Afternoon Whispers

WOMEN’S PINS CROPPED — Cloudy White Beach

p. 99

MEN’S BIG SHIRT — Light Blue


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